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of many. India, Turkey, China, Japan and North Africa are not only exciting places to visit,
but have also become a series of vast bazaars to plunder for decoration and dress.
The London department store Liberty, founded in 1875, was among the first of many
emporia to import and retail ethnic clothing in Britain. Museum collections and published
works in particular those by Max Tilke with detailed illustrations of ethnic clothing patterns
have been potent sources of inspiration to fashion designers. Art school trained and
textile orientated, Gina Fratini, Thea Porter, Bill Gibb and Zandra Rhodes were
particularly successful in their ability to incorporate ethnic clothing traditions within their
own distinctive fashion idiom. Developing their shapes from non-western garment
construction, they skillfully manipulated large expanses of fabric to create innovative
fashion trends. This late 1960s shift to flowing, longer lines was a reaction to the reign of
the angular mini.
Part II
Zandra Rhodes graduated from the textiles course at the Royal College of Art in
1966 and launched her own fashion label in 1969. She has consistently reflected the
visual experiences of her travels and historical research in the textile patterns,
embellishments and silhouettes of her garments. The V&A includes a screen-printed, silk
chiffon, hooded, djellabah-style dress, from 1969. The printed design is called 'knitted circle' and was inspired by examples of historical knitting in the V&A Textiles Collection.
While Zandra Rhodes used her sources to inspire her, Syrian-born Thea Porter patch-
worked genuine ethnic textiles into her fashion garments. In the early 1960s she opened a
London shop to sell antique Turkish and Arabian carpets. She started to design clothes in
1964, drawing upon her extensive travel experiences and historical knowledge. Her
caftans, made in brilliantly coloured printed, woven and embroidered silks, attracted an
affluent clientele with a hippie sensibility. Thea Porter also designed ethereal chiffon
garments and shawls, crewel-worked in gold thread, with sequined decoration.
From 1972 Bill Gibb regularly exploited ethnic cut and construction techniques in
Collections. He often employed the Moroccan clothing tradition of using coloured braids
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to conceal seams decoratively. The asymmetry and drape of the Indian sari was another
source of inspiration, which dominated his spring/summer 1976 collection.
Expressions to be memorized
to take shape on the body – сидит (одежда) по фигуре
as a result – в результате
a variety of figure types – различные типы фигур
to be inspired by smth. – быть вдохновленным чем-либо
at the same time – в тоже время
to be much enriched – значительно обогащаться
with detailed illustrations – с подробными иллюстрациями
to graduate from smth. – заканчивать какое-либо учебное заведение
clothing patterns – модели одежды
to launch the fashion label – запустить марку (в моде)
to design clothes – конструировать одежду
garment construction – конструирование одежды
source of inspiration – источник вдохновения
in particular – в особенности
Exercises
1. See the phonetic transcription of the following words and learn to pronounce
them properly:
manipulate, idiom, bohemian, natural, textile, ethnic, ethnicity, silhouette, multicultural,
chiffon, djellabah-style dress, antique, shawl, asymmetry, drape, technique, eloquent,
emphasis, embellishment, visual, reign
2. See the transcription in the dictionary, read the names of the countries:
Morocco, China, Japan, India, Turkey, Egypt, Iran, Italy, France, Hungary, German,
Great Britain, Brazil, Spain, Syria
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3. Give English equivalents for the Russian expressions given in brackets and
translate the sentences into Russian:
1. The asymmetry and drape of the Indian sari was another (источник
вдохновения) which dominated in spring collection.
2. The printed design is called “knitted circle” and (был вдохновлен) examples of
historical knitting.
3. Zandra Rhodes (закончила) the textile course at the Royal College of Art.
4. Museum collections and published works (с подробными иллюстрациями
моделей одежды) have been potent sources of inspiration to fashion designers.
5. (В то же время), British society was becoming increasingly multicultural.
6. The clothes are comfortable, (сидит по фигуре) and many are full length.
7. Fashion (значительно обогатилась) by the designers.
8. Developing the shapes from non-western (моделирования одежды), the
designers skillfully manipulated large expanses of the fabric to create innovative fashion
trends.
9. (В результате), they are flattering for (различные типы фигур) and age groups.
10. Zandra Rhodes (запустила свою собственную марку) in 1969.
11. She started (моделировать одежду) in 1969.
5. Fill in the blanks with a suitable word from the following list:
Chinese jacket, trend, decoration caftans, asymmetry, ethnic cut, silhouette, clothes,
patterns, clientele, shawls, silk chiffon
1. _____ and drape of the Indian sari dominated the spring/summer collection in
1976.
2. The _____ was international and found eloquent expression in Britain.
3. She has reflected the visual experiences of her travels and historical research in
the textile _____.
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4. Fashion designers fully embraced _____, construction and textiles of a variety of
non-western clothing traditions.
5. The _____ take shape on the body.
6. The _____, made in brilliantly coloured printed silks, attracted the _____.
7. There is much emphasis upon hand-worked surface _____ and a bold use of
colour.
8. Porter designed chiffon garments and _____.
9. Silk-velvet, jewelled _____, featured in Vogue, represents an early post-war
example.
10. From 1972 Bill Gibb regularly exploited _____ and construction techniques in
his collections.
10. The collection includes a screen-printed, _____, hooded, djellabah-style dress.
6. Link adjectives with suitable nouns:
Adjectives: comfortable, ethnic, exotic, sophisticated, vast, historical, textile,
fashion, attractive, Chinese, western, distinctive, innovative, Turkish, Arabian;
Nouns: garment, carpets, trends, features, tradition, jacket, shawl, label, pattern,
knitting, collection, technologies, decorations, style, clothes
7. Answer the following questions:
1. What were the main trends in British fashion throughout the 1950s?
2. What was the British society at that period of time?
3. What countries did British designers visit? For what purpose?
4. What did Zandra Rhodes graduate from?
5. When did she launch her own fashion label?
6. What did she reflect in the textile patterns and silhouettes?
7. How is the printed design called?
8. What did Thea Porter design in 1960s?
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9. Did Bill Gibb regularly exploit ethic cut and construction techniques in his collections?
10. What was his source of inspiration?
Vocabulary to be memorized
angular – зд. чопорный
affluent- изобильный, богатый
antique – древний, старинный, старомодный
bazaar – базар
bohemian –богемский, богемный
body – тело
bold – смелый, дерзкий
braid – шнурок, тесьма
caftan – кафтан, длинный восточный халат
chiffon – шифон
clientele –клиентура
crewel-worked – тонкая шерсть (для вязания)
conceal – скрывать, маскировать, прятать
cut – крой, кроить, резать
expanse – экспансия, расширение
exotic –экзотичный, иноземный
eloquent – красноречивый, выразительный
embrace – зд. воспользоваться
ethic – этический
fabric – ткань, изделие
genuine – подлинный, настоящий
hooded – в виде капюшона
jeweled – отделанный драгоценными камнями
knitting – вязание, трикотаж
omnipresent – вездесущий
peak – вершина
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plunder – грабить, воровать, расхищать
print – зд. набивной
sequined –отделанный блестками
shawl – шаль, платок
thread – нитка, нить
turquoise – бирюза, бирюзовый (цвет)
Text 9
Fashion and bohemian designers
Part I
Turkish-born St Martin’s graduate Rifat Ozbek often uses the fez hat, harem
trousers, the star and crescent moon of the Turkish flag and coin decoration in his work.
His autumn/winter 1992 collection was inspired by indigenous Americans, featuring silk-
velvet tunics, with clusters of coloured feathers at the hips. Also from this collection is the
luxurious, full-length, white-wool coat. This takes elements from Russian military clothing
and illustration from fairy-tales. It is trimmed with ikat braiding, which is widely used on
Central Asian clothing.
Shirin Guild, who presented her first collection in 1993, was born in Iran and is a
self-taught designer. Her cut is derived from Iranian and Japanese clothing tradition,
while fabrics and yarns are sourced exclusively from British mills. Capaciously cut
Kurdish trousers, and sweaters that enfold the body, have become Shirin Guild signatures.
Two striped linen kimono jackets are combined with a linen vest and trousers. The
distinctive front panel on the trousers was inspired by the dress of Iranian peasant women,
who wear skirts over their trousers for warmth.
Fashion’s appropriation of ethnicity and historical styles is selective, often
romanticized and irreverent in its application. Original garments, as well as paintings,
engravings, sculpture and decorative ceramics are frequently used by designers as
references sources. Pleated garments, originally part of classical antiquity, have
consistently inspired artists, dress reformers and bohemian fashion designers. Painters and
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sculptors have long-exploited classical drapery, which accentuates the contours of the
body and is timeless in its appeal. To members of the Dress Reform Movement, it
presented a healthy alternative to the prevailing corseted and cumbersome fashions. The
classically inspired clothes of Venetian designer, Mariano Fortuny (1871-1949), attracted
clients who were both unconventional and fashionable. Fortuny’s name has become
synonymous with intricate, pleated, silk garments. In 1907 he introduced his columnic,
delphos dresses, named after the world-famous classical statue of a charioteer, found in
Delphi. These dresses were painted in subtle colourings, hand-pleated according to his
secret method, and weighted at the hem with tiny glass beads.
Part II
Ian Cooper and Marcel Aucoin, working as fashion designers Ian & Marcel,
acknowledged their debt to Fortuny, having seen an exhibition of his work at Brighton
Museum and Art Gallery in 1980. For ten years, Ian & Marcel created exquisite hand-
crafted special occasion wear, and bequeathed a significant collection of their work to the
V&A. This included one of their very finest ensembles, dating from 1985 – a silk caftan
evening coat, with painted, classical vine design, teamed with a pleated, delphos-style
dress, in hues of purple and blue. Lady Holly Rumbold remembers, Ian & Marcel
reminded us of medieval knights, whose quest for beauty’s perfection. They consecrated
their lives to their art and the realization of their ideals, with the same single-mindedness
and fervour of Parsifal in pursuit of the Holy Grail.
The appeal and universality of pleats is manifest in the work of Charles and Patricia
Lester, who are based in Abergavenny, Wales. Charles trained as a textile physicist and
Patricia is self-taught. The creation of their garments involves meticulous craft skills and
is highly labour intensive: each metre length of silk takes eight hours to pleat before being
baked and hand-dyed. Their exquisite colourings reflect the drama of the Welsh
countryside, faded Renaissance textiles and exotic jewels. Charles and Patricia Lester’s
‘poison apple’ pleated silk lauder dress, with a silk-velvet devore (an acid burn-away
technique) jacket. In addition to pleing silk, the duo also create sumptuous, deep-pleated
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silk-velvet evening coats, as well as textile furnishings. Prestigious clients include HRH
Princess Michael of Kent, Shakira Caine and Bette Midler.
Gnuyki Torimaru who formerly worked as ‘Yuki’ and is still informally known as
such has been inspired by both Japanese clothing traditions and by classic pleating. Yuki
works in an utterly modern idiom, using polyester fabrics and hoop structures to create
flower-trumpet shapes at the sleeves and hems of his pleated garments. Many other British
designers, including John Flett, Helen Storey and Lezley George, have also featured
classically inspired pleats in their collections.
The textile-led fashion company, Helen David English Eccentrics (previously
known as English Eccentrics), draws on a colourful pot-pourri of historical, artistic and
multicultural imagery. The textile design, which dates from 1994, has bold heraldic lion
and unicorn motifs, in a rich rust colour, inspired by the clothes worn by Tibetan monks.
The British are devoted to original period and ethnic clothing. These garments are
valued for the individuality they accord the wearer and the quality of workmanship.
Loving a bargain, the discerning can often discover an exquisitely made and elaborately
decorated piece at a give-away price.
Expressions to be memorized
to be widely used – широко использоваться
to be derived from – восходить от
to be combined with – сочетаться с чем-либо
as well as – также как
named after – названный в честь
the world-famous – всемирно известный
to be painted in – быть раскрашенным, разрисованным
to be based (on, in) – быть основанным (на, в)
to be self-taught – быть самоучкой
in addition to – в дополнение
to be known as – быть известным как
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to be devoted to – посвящаться
the quality of workmanship – качество ручной работы
Exercises
1. Form adverbs from the following adjectives by means of the suffix –ly and
translate both adjectives and adverbs into Russian:
formal, recent, obvious, direct, special, creative, classical, alternative, sharp, historical,
artistic, cultural, exquisite, original, deep, beautiful, elaborate
2. Link adjectives with suitable nouns:
Adjectives: Tibetan, Venetian, Japanese, Turkish, bohemian, wool, crescent, historical,
original, exquisite, unicorn, purple, exotic
Nouns: jewels, hues, monks, motifs, colourings, beads, fashion, garment, style, clothing,
tradition, moon, designer, coat
3. Translate the following sentences into Russian:
1. Her cut is derived from Italian and Japanese clothing tradition.
2. Two striped linen kimono jackets are combined with a linen vest and trousers.
3. The distinctive front panel on the trousers was inspired by the dress of Italian
peasant women.
4. Original garments, as well as paintings, engravings, sculpture and decorative
ceramics are widely used by designers as reference sources.
5. The dress was painted in subtle colourings.
6. Shirin Guild was born in Iran and is a self-taught designer.
7. The British are devoted to original period and ethnic clothing.
8. The garments are valued for the individuality they accord the wearer and the
quality of workmanship.
9. In addition to pleating silk, the designers also create deep-pleated silk-velvet
evening coats, as well as textile furnishings.
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4. Translate from Russian into English using expressions from the text:
1. Богемный стиль в моде опирается (основывается) на этнос различных
стран.
2. Некоторые из дизайнеров одежды были самоучками, но впоследствии
закончили различные колледжи искусств.
3. Рифат Озбек, дизайнер турецкого происхождения, широко известен в
богемных кругах художников и артистов.
4. Различные материалы искусно сочетаются в одежде благодаря таланту
дизайнера.
5. Индивидуальность мастера, материал и качество ручной работы очень
ценятся богатыми покупателями и знатоками модной одежды.
5. Answer the following questions:
1. What are the main trends in Ozbek’s works?
2. What is Shirin Guild? Is her cut derived from Italian and Japanese clothing
traditions?
3. Is fashion’s appropriation of ethnicity and historical styles selective
romanticized its application?
4. What is used by the designers as reference sources?
5. What is the name of the Venetian designer who attracted clients with the help
of his works?
6. What are the main features in the work of Charles and Patricia Lester?
7. Are the British devoted to original period and ethnic clothing?
Vocabulary to be memorized
accentuate – подчеркивать , выделять
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